Ramblings of a Man Who Watches A Lot of Movies

Extreme Horror

”A Black Heart In White Hell” is the brand new short film from restless indie horror director Dustin Mills and Crumpleshack Films. If you aren’t aware of Dustin’s work yet then you’re missing out on one of the most exciting and hard working independent filmmakers working today, whose body of work is of a consistent level of high quality and refreshingly original. ”A Black Heart In White Hell” sees Dustin in full experimental mode, dragging the viewer into hell with the films victim and – if you dare stick around – forcing us to endure her plight with her.

”Not Sorry” are the words The Woman (Reagan Root) writes on the mirror before she takes her own life in the bath tub, assuming that she’s leaving this world unpunished for crimes we later learn she committed. However – when she wakes up in a white room, a series of events unfold which force her to face the consequences of her sins. What ensues is a bloody nightmare involving monsters and tormenting imagery as she’s punished in some gross, unsettling ways.

There were 2 movies which sprung to mind when watching ”A Black Heart In White Hell”: ”Eraserhead (1977)” and ”Begotten (1990)”. My comparison is not based on the content contained within either of those movies, as they’re both completely different; what I’m getting at is they both share an ability to evoke a strong visceral reaction and psychologically pummel your senses at the same time. ”A Black Heart In White Hell”, like those 2 movies, unsettled me through imagery, sound and it’s own original content. I guess another comparison to those movies you could make is that it’s like nothing else out there, but that’s always been the case with Mills’ work anyway. However, Lynch and Merhige’s movies are ugly experiences which suffer from too much self-indulgence. ”A Black Heart In White Hell” is a visually stunning spectacle to look at, with an interesting story and additional fun factor. Sure, it’s gross and distressing, but it’s also highly enjoyable and oozing with immediate rewatch value.

The film contains absolutely no dialogue, but the story is cohesive: The nightmares of the lead and her crimes appearing on a television screen give us all of the information we need to understand what’s going on and why she’s being punished. Credit must be given to Reagan Root for being able to portray a convincing character through actions, expression and body language alone. She’d still be a joy to watch even if she wasn’t always naked. The supporting cast consist of Dave Parker (with the awesome Youtube channel), Brandon Salkil and Jeremy Ryan, who serve as a reminder of why her soul is being ripped apart.

”A Black Heart In White Hell” is Mills’ best work to date and continues to showcase the evolution of a boundary pushing auteur making a name for himself in the world of underground cinema. You can pick this up along with Dustin’s other movies over at Dustin Mills Productions, or stream it on VOD for pocket change. Not only would you be supporting indie film by checking it out; you’d be treating yourself to some unique, original horror.

Lucifer Valentine’s ”Vomit Gore” is a series I have no interest in seeing. The only reason I watched this was because a friend told me the Soska Sisters were in it and I had to see for myself. There is no record of it on their IMDB pages – which is understandable as no aspiring filmmakers with career ambition would want to associate themselves with what is essentially a fetish porn film. And yes, Jen and Sylvia Soska were present.

The plot? Well, much like the mind that created it, the plot was lost before it even began. It’s an incoherent, hallucinogenic nightmare of sorts; where pissing, puking, sex and gore all enter the same blender to concoct a nuclear cocktail sure to kill a few brain cells and make most people physically sick. But if I had to hazard an interpreted guess, it’s about the nightmares of a young woman as she enters Hell.

So, is this where I call ”ReGOREgitated Sacrifice” a pointless piece of trash not worth your time unless you’re a complete sicko? Not quite. Many have already and even though it’s not something I enjoyed, per se, dismissing it without acknowledging its merits would be dishonest of me. It contained so many moments that left me questioning my own sanity for watching it that it deserves credit. Furthermore, the gore effects are masterful; I’d go as far to say they’re the best I’ve ever seen. Or the worst -depending on how you view it. They’re so well done they’re sickening: it’s not something I would describe as fun, like say, FX from a splatter movie – but they have to be commended.

The film also contains a strange, hypnotic aura throughout; it’s arthouse for the scathouse and it’s very successful in its bid to be as unsettling as possible. It’s an unrelenting assault on the senses which challenges the viewer with every segment. I don’t consider this to be a good movie by any means, but Lucifer Valentine possesses a lot of talent and achieves exactly what he sets out to do. I have no doubt in my mind that he has a potential good film in him somewhere, but whether he decides makes it is up to him.

Kudos to Lucifer Valentine for creating something so balls-to-the-wall and courageous; this trilogy has encouraged stalkers and death threats sent his way. The gore is a triumph of FX and there’s plenty of insanity and WTF? moments worth noting – even applauding. However, it has too much shameless piss/puke pornography within it for my taste. 4/10

The original Japanese ”Guinea Pig” series is regarded as a landmark achievement of extreme cinema, famously receiving notoriety after Charlie Sheen reported Flowers of Flesh & Blood (1985) to the FBI in 1991 because he was convinced that it was a real snuff film. This led to an investigation, with the creators going on trial and having to prove that the atrocities being committed on screen were indeed fake. Suffice to say, the film is now regarded as a cult classic as a result; if Federal authorities get involved, then your movie has achieved its goal.

”American Guinea Pig: Bouquet of Guts & Gore” is the modern American reboot of the series, directed by first timer Stephen Biro, founder of Unearthed Films, a company which specializes in distributing movies made with the intention of making viewers physically sick. From the moment I heard about this movie, I was intrigued: These type of films aren’t usually my cup of tea by any means, but the hype surrounding ”Bouquet of Guts & Gore” was too great to ignore. Deemed by many reviewers as the most unpleasant experience they have ever had to endure – in the good way, not the Adam Sandler way – I just had to check it out to see if it would break my threshold. Unfortunately, it didn’t make me vomit; I’m the type of guy who can watch human beings getting butchered and not flinch, then go ball my eyes out watching ”Marley & Me.” However, ”Bouquet of Guts & Gore” impressed me as a visual spectacle: I was in awe at the gore FX, as opposed to sickened like many people will be. However, I was entertained for the duration, even though it’s not a movie anybody in their right mind would describe as ”entertaining.” Thankfully, I’m not in my right mind.

Essentially, ”Bouquet of Guts & Gore” is the abduction, drugging, dismemberment and disembowelment of 2 females while a film crew record the vile acts. It’s a faux snuff film with not much in the way of story or character development. Shot on 16mm, it’s looks grainy and homemade; and is so unrelentingly cruel and mean spirited it’s sure to test the metal of most viewers. There’s an audience for this type of film and anybody who watches it knows what they’re getting themselves into. Enter at your own risk, because the butchering that takes place on screen is as authentic looking as you’re likely to see, outside of… you know… actual murder.

For me, the lack of attachment to the victims made it difficult to sympathize with their plight. It’s very rare a film will make me feel sick or disturbed, so in those regards, ”Bouquet of Guts & Gore” didn’t succeed. However, it will make a lot of viewers feel rotten to their core and in desperate need of a shower afterwards. For gore lovers like me, they’ll sit and marvel at the FX courtesy of Marcus Koch, who, in my opinion, is the absolute best FX artist working in horror right now.

The score is another highlight of the film which will give viewers feelings of unease. Orchestrated by Jimmy Screamerclaus, the weirdo genius behind psychotic fever dream ”Where The Dead Go To Die (2013)”, the ominous doomscape is sure to creep into the nerves of many a viewer and remain with them long after, when they replay the heinous acts they just witnessed over again in their head.

”American Guinea Pig: Bouquet of Guts & Gore” isn’t a movie I recommend, due to its content. It was made for a particular group of horror fan; the ones who openly bask in the nasty pleasures of the abyss. If you’re a fan of extreme, transgressive cinema of this nature then you’ve probably seen it already – or will soon. However, for a guy like me, who isn’t a fan of pseudo snuff films usually, I wasn’t bored for a minute and it’s definitely a stand out little nasty I won’t forget anytime soon. I can’t say I was blown away by it – minus the outstanding gore – but I was entertained for 72 minutes and I have no doubt it’ll be regarded as a classic of its kind, much like its predecessors. Stephen Biro is a successful Jack of All Trades, and he can add director to his list of talents. Overall, this is a movie that will offend people and undoubtedly get banned in many countries, but it accomplishes what it sets out to do and deserves plaudits. 7/10.

Fun fact: Biro named the victims after his ex-wives. I thought that was funny.

Ryan Nicholson has always been a director whose work I’ve been familiar with, but not until last night have I ever been brave enough to watch it. Recently I’ve come to the realization that extreme horror is something I can handle, and even enjoy. Therefore I decided to go into Collar with a brave face and a strong stomach and I’m happy to report I came out unscathed. Despite my brain telling me otherwise, it turns out I’m not squeamish at all and I’ve really developed a fondness for horrors most brutal offerings, provided they’re not boring. I’m happy to report Collar was a success.

From what I understand, Collar was somewhat a departure for Ryan into darker territory. The lighthearted comedic aspects of back alley abortions and bowling alley rapes in his previous efforts were all for a good camp laugh; I’m of the view that no subject is taboo enough to laugh at, therefore I look forward to seeing Hanger (2009) and Gutterballs (2008) when they arrive in my mailbox. Collar is a mean spirited, brutal affair indeed, but I’d be lying if I didn’t told you I didn’t chuckle at the cannibalism. I have a twisted sense of humour.

Collar stars Nick Principle as Massive – the homeless Satanic serial killer with a hunger for human flesh and a penis that doesn’t take the word, ”no” or the gut wrenching cries of its victims for an answer. Massive is an intimidating villain carried by force alone: no spoken words are needed to convey his evil intent. By far the strongest character of the movie, Collar has a villain it can be proud of, and one that is sure to send a few chills down a spine or two. That being said, the supporting cast are fairly unmemorable in comparison, despite all putting in a solid effort.

The plot to Collar is thin, but effective: a deranged homeless killer who was abused as a child kidnaps, rapes and tortures unsuspecting victims from the streets. One night, after receiving a call, Dana – a female cop, sets out to investigate the situation, only to be taken hostage, strapped to a collar and subject to the abuse of Massive. While this is going on, the heinous acts committed by the Satanic rapscallion are being filmed by 2 sleazeballs who profit from capturing peoples misery on their smartphones.

As to be expected from a filmmaker with Nicholson’s reputation and amazing F/X skills, the gore is plentiful and it looks incredible; he’s a supremely talented man who’s worked on some huge movies and TV shows, so Collar is above most indie productions for the gruesome stuff. As sickening as you might find it at times, it’s hard not to view Collar and marvel at the effects work. Here we’re treated to disembowelment’s, child birth and bodies being broken in half with back breakers (the wrestling move) – and much more. Collar’s depravity, sleaze and violence ensures that it’s never boring for a second, unlike other movies of the ilk.

Collar is a nasty movie that doesn’t shy away from pulling punches. In fact, it punches you so hard you might feel it in your gut afterwards. The supporting characters and thin plot aren’t particularly strong, but with a short running time and constant supply of carnage, it doesn’t outstay its welcome. This is filthier than a dubstep bassline drop at a mud wrestling match between 2 STD riddled hookers with heroin addictions. 6/10